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Discussion Starter #1
I got one for my Mark VI - my original neck has a matching serial #, but it had suffered some damage (it was this way when I bought it in 1977). I've had the damage addressed, which did help some, but I was still a bit unhappy with the overall tone of the instrument.

I've always thought that the neck makes the horn and this new neck has proved it to me. The issues I had with thin palm key notes, resistance in the altissimo and general evenness of tone are all gone now.

Now that I've had it a few months, and the patina has darkened the neck, it looks more like it belongs on my poor gig-worn tenor :) I got the bare brass model; I think Jack Finucane offers plated and lacquered models. It's not cheap, but it's less money than either Gloger or the Kim Bock models.

Highly recommended, it really makes my old horn sing!
 

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Did you compare it to any other necks before buying, or did you just try this one? I'm very happy with my Paraschos, but just wondering how this compares to other necks....
 

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Discussion Starter #4
Did you compare it to any other necks before buying, or did you just try this one? I'm very happy with my Paraschos, but just wondering how this compares to other necks....
No, I didn’t, but I also own aBarone Classic tenor, andone of the characteristics I like on that horn is the solidpalm key and altissimo response. This neck brings my VI into that category. Not saying the original neck is bad, but that area of the horn was always a struggle.
So glad you like it!!! (this is Jack)
Thanks Jack!
 

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Hey there! Man, I need to change that handle, I've had that since high school haha and I think its time for something a bit more professional. To answer your question, the brass is a high copper content alloy which is imported from Germany to a factory I work with in Taiwan which molds and machines the parts (which I have exclusivity over) the final fit and finish is done here in my shop. Ive found that by doing this, it keeps the cost reasonable (imo) for a custom neck and the consistency very high so that folks don't need to feel like they need to try dozens of necks to find 'the one'. I personally check each one and if there are any outliers that dont fit my tolerances we cull them. Hope this helps!
 

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Hey there! Man, I need to change that handle, I've had that since high school haha and I think its time for something a bit more professional. To answer your question, the brass is a high copper content alloy which is imported from Germany to a factory I work with in Taiwan which molds and machines the parts (which I have exclusivity over) the final fit and finish is done here in my shop. Ive found that by doing this, it keeps the cost reasonable (imo) for a custom neck and the consistency very high so that folks don't need to feel like they need to try dozens of necks to find 'the one'. I personally check each one and if there are any outliers that dont fit my tolerances we cull them. Hope this helps!
Yes, thanks for the explaination. Are these necks available in Europe? Would love to try one.
 

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Yes sir! We ship internationally here from the US quite frequently. At this time our only international vendors are in Japan but you can order directly through the website (www.bostonsaxshop.com) to get one to try in Europe :)
Good move with the name......much better than donkeyhunter in my opinion which seemed a little sketchy.......Haha!
 

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Though I've yet to try his necks, I've personally dealt with Jack several times, both as an individual and as a graduate assistant for the band program at Boston University, and I'd trust any product he makes completely. He's a super honest and friendly businessman, and as a nice icing on the cake, his dog always remembers me and is always so excited to see me
 

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I have one for my tenor and it is definitely a great neck. A little more spread than my original one, opens the sound beautifully and very well balanced.

Jack is moreover a great guy to deal with.
 

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I just wanted to drop a line in here. I have been playing a brass heritage neck on my tenor since January and a silver one on my alto since March. They have been the biggest bang for the buck I have spent on my horns. I could not be more impressed with the quality of the necks and Jack's amazing customer service. He was super helpful and answered all my questions before I ordered my first one. With both necks, he bent over backward to be sure that I got a perfect fit.

My alto and tenor are both Cannonballs and I feel like these necks have taken the horns from good to excellent. Like with all things, results vary but I am super happy with my purchases. Anyone looking for an aftermarket neck should really give a heritage neck a go.
 

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I have a very nice early Mark VI.

The posts here about the Boston Heritage neck are unanimously positive so far.

Being a die-hard skeptic, I imagine that when one pays a lot for an item, and especially when it is new and different, it may seem better, whereas, given enough time, the novelty wears off.

Given that the Mark VI is arguably the "gold standard" of saxophones (to many at least, though that is subjective), is there anybody on this forum who has purchased one of these necks and eventually gone back to their native Selmer (or other brand) neck, deciding that it was no real improvement after all?

I'm thinking of trying one, given all the great comments....but it seems almost too good to be true, and I wonder if there are any dissenters.
 

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Discussion Starter #16
My Mark VI tenor (100K serial) has always been "difficult" in the high second register (C3 and above), and the low altissimo (especially G3) requires a firm conviction and no small amount of luck. Having been in the habit of playing my friends' horns for many years, I knew that this wasn't always the case with Mark VIs, but about half of Mark VIs that I've played are "thin" in the palm keys.

A few years ago, I bought a Barone as a back up tenor, and surprise surprise, these problems did not exist on this horn. In fact, the Barone plays so well that I regularly alternated between the two instruments, until I bought the Heritage neck. The Heritage neck corrected the palm key and low altissimo issues, did not noticeably change the other things I like about my Mark VI, so it "lives" on this horn now. It was a significant, noticeable and definite difference, not a subtle "ooh that's better because it's shiny" difference, but more of a slap across the jaw "you stupid f***head, why didn't you go looking for a new neck years ago? Are you crazy????" kind of difference. Not going back to BSS, not being sold here or on eBay, it's staying on my horn.

Couple of points. First, the neck is designed based on experience Jack Finucane has with balanced action Selmers (both BAs and SBAs), and the bend profile is much more like an older instrument than a Mark VI. I noticed similar differences when I switched my Mark VI alto for an SBA - there was a clarity in the upper range and an overall balance that my Mark VI alto never had, and the tenor never had either. Not saying they are bad horns, just that the SBA alto, and the tenor with the new neck, are noticeably more "stable" throughout the horn.

Second, it's well known that many great players have used a different neck on their instruments, so I don't feel that this is waste of time or money, or a futile search for the holy grail.

I can only speak about my own experience, and that is that the Heritage neck has turned my Mark VI from a great, but middle of the road horn into one of "those" instruments - it's a night and day difference, on my saxophone. I've had it for several months, and the "novelty" has not worn off, the horn now is limited by me, instead of the other way around.
 

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I'm reopening this slightly dated post because I obtained a new silver plated Boston Sax Shop Heritage neck from Jack today. I was test playing numerous horns--two Selmer Mark VIs tenors, a pair of Reference 36s, and a Yamaha 62 Purple Logo tenor. In the middle of this, he just handed me the neck and said try it, to which I was thinking "okay, I'll see what it does." But OMG, I was completely blown away--this neck covered all the bases of the Yamaha C1 neck (density, improved depth and intonation, etc.,) and then added an entirely new harmonic complexity that I initially felt came from no where. Then after Jack explained how he developed the neck, I completely understood how the neck was locking in the upper harmonics while adding depth throughout the instrument. I get why people love the Selmer core sound--I really do as I think it's great too--but I love the Yamaha 62/82 core. The BSS Heritage neck is perhaps one of the best tenor saxophone necks on the market for Selmers and especially the Yamaha 62/82. I can't say enough to impress upon the readers here how great this neck is. Then I learned Jeff Coffin plays it on his 82Z--enough said.
 

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I'm reopening this slightly dated post because I obtained a new silver plated Boston Sax Shop Heritage neck from Jack today. I was test playing numerous horns--two Selmer Mark VIs tenors, a pair of Reference 36s, and a Yamaha 62 Purple Logo tenor. In the middle of this, he just handed me the neck and said try it, to which I was thinking "okay, I'll see what it does." But OMG, I was completely blown away--this neck covered all the bases of the Yamaha C1 neck (density, improved depth and intonation, etc.,) and then added an entirely new harmonic complexity that I initially felt came from no where. Then after Jack explained how he developed the neck, I completely understood how the neck was locking in the upper harmonics while adding depth throughout the instrument. I get why people love the Selmer core sound--I really do as I think it's great too--but I love the Yamaha 62/82 core. The BSS Heritage neck is perhaps one of the best tenor saxophone necks on the market for Selmers and especially the Yamaha 62/82. I can't say enough to impress upon the readers here how great this neck is. Then I learned Jeff Coffin plays it on his 82Z--enough said.
Did you try the brass neck also or just the silver?
 
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